Director Kim Frick-Welker moves through the crowd, a willowy, anonymous figure in stage black, managing to look elegant and fretful at the same time.

She has an air of restrained tension that seems part of her off-stage character as she prepares for this final weekend of "Music Man" performances.

Kim Frick-Welker has been working for over a year on the project and one wonders what she is feeling at a time like this. From the looks of things, she's just thinking -- is everything working right, is everyone in their positions, are the patrons being properly seated and cared for?

She's said in interviews she'd like to fret less and enjoy more. This would be a good time for that resolution, as all systems appear to be running like a well-oiled machine.

As folks stream into the newly refurbished and re-named Cookeville Performing Arts Center, it is clear that word has spread -- this is going to be a good show.

With only a few spare seats, this well-publicized production is something of a "summer blockbuster" by Cookeville standards.

The program is full of surprises as one scans the biographical information of the performers. Multi-generational stage veterans, appearances at Carnegie Hall, masters degrees in fine arts and theater -- -this cast is rich in experience and they use it fully.

From the first surprising scene with some special effects and creative staging of the traveling train to the final scenes with the drum corps and full cast, the play is a visual treat.

As the play progresses, the crowd is responsive to all of the big musical numbers -- and there are many in this production.

The sets are very well done and move seamlessly between scenes. Frick-Welker seems particularly gifted in this area.

A personal favorite is the surprising, opening all-male number on the train, an ensemble talking/singing/rapping sort of piece that demonstrates some tight vocal performances and works well.

Many particularly enjoy the "Shipoopi" dance number with the colorful, authentic costumes and challenging choreography.

As the play progresses, I keep sneaking peaks -- it really IS Margery Hargrove sitting behind me -- and I am dying to know what she is thinking.

(For the uninitiated, Margery Hargrove has been dubbed the "first lady of theater" in the area, and is the woman for whom the Margery Hargrove theater is named.)

As the excellent live orchestra played under able direction, the singers revived all of the standards that Music Man lovers adore. The polished production seemed flawless.

The hysterical antics of the dancing ladies -- "one Grecian Urn!" and the fun comedy by young actors playing the children's roles were well timed and well received.

The movement on-stage of male and female dancers was something to behold -- in a really good way. Choreographer Meredith Davis, who is known for making large groups look coordinated and fun, outdid herself with this one.

Frick-Welker employed valuable assistance from vocal director Kelly Piepmeier, music director Mendy Richards and choreographer Merry Davis to put together such a music-centric, dance-heavy show with community members, some of whom have never stepped foot in a dance studio.

Large dance numbers like "76 Trombones" and the aforementioned "Shipoopi" were spot-on, and "Marion the Librarian," with its slow, kaleidoscopic rotations of books accompanying the long notes of the song, was a particular favorite. The orchestral music, led by Richards, was equally as enjoyable, and it is nice to see the Performing Arts Center pit being used every once and a while.

Quite impressive was the vocal complexities of the large cast, with challenging chord progressions that enriched each song of the show.

And props to Piepmeier for turning four actors into a formidable barbershop quartet, posts often filled in other "Music Man" productions by singers who do barbershop competitively around the country and the world.

Leading the cast as "Harold Hill" and "Marion Paroo" were Evan Montgomery and Kelly Riley-Swallows, respectively.

Montgomery is handsome, likable and approachable, important elements for a con man who dupes an entire community.

On the other end, Riley-Swallows' "Marion" is bristly and enigmatic in the beginning, which makes her the subject of much gossip around River City, Iowa, until she slowly lets her guard down as her feelings for Harold progress.

Both actors have truly embraced their characters, and they are a delight to watch and listen to.

Standout supporting characters are young lovers "Tommy" (Anthony Herd) and "Zaneeta" (Katie Mannle), who lead many of the dances, and the "Pick A Little" ladies led by the mayor's wife, "Eulalie" (Mary Pashley).

Pashley's bold presence, tongue-rolling and octave-ascending make her scenes with the ladies some of the funniest moments of the play.

One should have just tried to leave without humming one of the songs on the way to your car.

The hard work put in by the 150 people on- and offstage is apparent, and all that saw it were glad they took a little jaunt to River City.